Musical computational devices

ABSTRACT

Disclosed is apparatus comprising at least two elements whose positions relative to each other are alterable, and in which at least a portion of each element is visible during use of the apparatus, and wherein a first of said elements exhibits an indicated sequence, and a second of said elements exhibits at least one of a group of musical representations comprising: 
     an alphabetic representation of musical notes; 
     a representation of a keyboard; 
     a representation of finger positions on an instrument; 
     an accepted musical notation; 
     and wherein the relative positions of said first and second elements may be altered so that correlating said indicated sequence with a said musical representation indicates at least one of a scale or chord. Various embodiments of apparatus may be used in determining scales, and variations and modes thereof, find use in creating and determining chords, find use in key transposition and/or determining fingering on keyboards and frets.

TECHNICAL FIELD

This invention relates to improvements in and relating to musicalcomputational devices. Various embodiments include means for indicatingthe fingering position of musical notes on a fret, keyboard or otherinstrument, and may facilitate chord selection and creation. Someembodiments may include a sequence to indicate various scales and modesthereof, and again may assist in the selection and creation of variouschords. Some embodiments may also provide key transposition functions.

BACKGROUND ART

Many stringed instruments, such as the guitar, rely upon the positioningof fingers upon the frets to enable a particular note to be played.However, positioning fingers upon successive frets along a string doesnot play a major scale but instead would be the equivalent of playingsuccessive keys on a keyboard, for example, C C♯/D♭ D♯/E♭ E F etc.

Furthermore, while the sequence is the same for all strings, theposition of corresponding notes on adjacent strings do not lie on thesame fret. Consequently, part of the skill in playing a stringedinstrument such as the guitar is remembering the position of fingers onfrets corresponding to the notes. This can be difficult for beginnersand the problem is compounded when chords, comprising several notes,must be played.

As a musician progresses, it may also be desirable to perform musicalpieces in other than a major scale (e.g., melodic minor, harmonic minor,pentatonic, diminished, etc.) and in the various modes thereof (e.g.,Dorian, phrygian, lydian, mixolydian, aeolian and locrian). Determiningthese scales, let alone the finger positioning, can be difficult for anymusical instrument and can result in considerable effort by themusician.

It is also common practice to transpose the key of musical pieces.Similarly, the process of transposing a piece of music into another keycan be tedious and for stringed instruments such as the guitar,different fingering must also be learned. The problems also arise forother instruments in which the position of the fingers affect the notebeing played.

To date, the applicant is not aware of any apparatus or devices whichcan simplify the task of indicating finger positioning, determiningvarious scales and chords and variations thereof, transposing keys orvarious musical computations. Typically, to perform these functions aperson must manually calculate the required operations, much in the samemanner as a person performing mathematical sums with a pen andpaper--there is no musical abacus or slide rule to aid the musician.Further, due to the relationship between musical notes, their sequenceand relationship does not make them analogous to normal mathematicalrelationships. Furthermore, the desired functions (such as keytransposition) do not have a direct analogy in normal base-10mathematical operations.

It is an object of the present invention to address the foregoingproblems and to provide an apparatus which can aid the musician, or atleast to provide the public with a useful choice.

Further aspects and advantages of the present invention will becomeapparent from the ensuing description which is given by way of exampleonly.

DISCLOSURE OF INVENTION

According to one aspect of the present invention, there is providedapparatus comprising at least two elements whose positions relative toeach other are alterable, and in which at least a portion of eachelement is visible during use of the apparatus, and wherein a first ofsaid elements exhibits an indicated sequence, and a second of saidelements exhibits at least one of a group of musical representationscomprising:

an alphabetic representation of musical notes;

a representation of a keyboard;

a representation of finger positions on an instrument;

an accepted musical notation;

and wherein the relative positions of said first and second elements maybe altered so that correlating said indicated sequence with a saidmusical representation indicates at least one of a scale or chord.

According to another aspect of the present invention, there is providedapparatus substantially as described above wherein a said indicatedscale or chord comprises at least one of a preferred group of keyscomprising: a major key, a minor key, and including the Dorian,phrygian, lydian, mixolydian, aeolian, and locrian modes, and includingmelodic, harmonised and diminished variations.

According to a further aspect of the present invention, there isprovided a method for determining the transposition of a musical keycomprising the use of apparatus comprising at least two elements movablewith respect to each other, and wherein at least one element comprisesan indicated sequence and the other element exhibits scale informationrepresentative of the musical notes of a scale, and wherein a beginningor reference point in said indicated sequence is aligned with said scaleinformation, the relative position of the aligned indicated sequence andscale information indicating the correct note for the key transposition.

According to yet a further aspect of the present invention, there isprovided a method for determining the relative finger positions forscales and chords on an instrument comprising the use of apparatuscomprising at least two elements movable with respect to each other, andwherein at least one element comprises an indicated sequence and theother element exhibits instrument information representative of the notedetermining elements of said instrument, and wherein the elements may bealigned so that a beginning or reference point of said indicatedsequence is aligned with a user-selected position of said instrumentinformation and wherein said indicated sequence indicates the fingerpositions to complete a scale or chord starting at the user selectedposition.

The term guitar where used herein, and unless otherwise specified, shallbe used in its broadest sense and shall refer to any member of theguitar family. Typically this shall be construed as meaning any stringedinstruments whereby the note generated by a string dependent upon thepositioning of a finger or stop therealong. It should also be noted thatwhile early embodiments of the present invention was developed withprimarily the needs of a guitar player in mind, it may also findapplication for any musician regardless, of the instrument which theyplay. It will also be of use to music composers.

The present invention generally comprises at least two elements whichare movable or slidable with respect to one another. In most instancesthe portions may be slidable linearly though this does not precludeother embodiments from also being constructed, just as there arecircular embodiments of the mathematical slide rule also available. Itmay perhaps be more appropriate to say that at a particular point ofinterest on the device, it appears that the portions slide substantiallylinearly with respect to each other, even though the device as a wholemay be constructed so that a point on the portions when monitored over agreater distance actually travels through an arc.

In most embodiments, the elements will be arranged so that one elementeither fully or partially overlies the other. Once again, this does notpreclude other arrangements such as side by side element as in themathematical slide rule. However, typically a greater amount ofinformation can be simultaneously presented on elements where oneoverlies the other and several information windows are provided.

Where there are overlying elements, it is desirable that at least theoverlying element is substantially transparent, in the area of interest,or otherwise constructed so that the information presented by theoverlaid element can be seen. While various options are possible, apreferred embodiment provides a window on the overlying element enablinginformation on the overlaid element to be seen.

The information presented by the device may vary according to need. Forinstance, the information required by a guitar player may be differentto that required by a music composer. Alternatively the informationrequired may be similar but the presentation of this information may bealtered to be more useful to the targeted user.

As an example, a preferred embodiment has on at least one element (itdoes not matter whether this is the upper or lower element as typicallyboth elements will be visible in the area of interest) informationsignifying the accepted musical notes. This may be complete or partialdepending on the need.

On the other element is information denoting a series indicating alogical succession to be followed. When this information is overlaid onthe aforementioned musical notes, a scale or succession of notes isindicated. According to the information being presented this may, forexample, be a major, minor, diminished, pentatonic or other scale.

Furthermore, in the preferred embodiment, by positioning a startingpoint in the sequence over a particular note, a particular scale isplayed. By repositioning the starting point over another musical note, asimilar scale will be played but in a different key. That is to say,both scales played will be the same (e.g., major, minor, diminished orwhatever has been chosen) but in a different key. However, this may notbe the case in alternative embodiments, in which the information may beadjusted accordingly.

Generally, for apparatus comprising at least two elements, a first ofsaid elements will generally exhibit an indicated sequence. Theindicated sequence may comprise at least one of the following forms ofrepresentation: a numerical sequence (including Roman, Arabic and othernumeric notations), an alphabetic sequence, and a sequence of musicalnotes (this may be alphabetically represented or in musical notation). Asecond of said elements of the apparatus will generally exhibit at leastone of a group of musical representations comprising:

an alphabetic representation of musical notes;

a representation of a key board (of an instrument);

a representation of finger positions on an instrument;

an accepted musical notation.

Furthermore, the arrangement will generally be such that the relativepositions of said first and second elements may be altered so thatcorrelating the aforesaid indicated sequence with an aforesaid musicalrepresentation indicates at least a scale or a chord or both.

Generally, to use such a device for determining the transposition of amusical key, a beginning or reference point within said indicatedsequence is aligned (by relative movement of the element) with scaleinformation (which comprises at least one of the aforesaid group ofmusical representations) sufficient to indicate at least a completescale. Typically, the beginning or reference point is aligned withinformation on the other element representative of the note of the keyinto which the transposition is to occur. For instance, and by way ofexample only, the indicated sequence may comprise an alphabeticrepresentation of the standard musical notes, or a repetition thereof(e.g., C, C♯/D♭, D, D♯/E♭, E, F, F♯/G♭, G, G♯/A♭, A, A♯/B♭, B, C . . .). Preferably, the other element will comprise a musical representationwhich also includes the foregoing; sequence. In some embodiments eitheror both of the sequence and representation may be represented in analternative form (such as a key board, musical notation, etc.).

By aligning a beginning point of the indicated sequence (which in theforegoing example would be a note representing the current key of themusic to be transposed) is aligned with a note representing the key intowhich the music is to be transposed. For instance, if the music is inthe key of G and needs to be converted into A♭, then the elements aremoved so that G is aligned with A♭. The sequence whose reference pointhas been arbitrarily designated G in this example, represents the notesof the music being transposed. By matching the information on the secondelement to these notes, the new note for in the key of A♭ can bedetermined. This example will become clearer from the drawings andexamples discussed later herein.

In the preceding arrangement, it is noted that there is a substantiallylinear arrangement between the two scales and it will be noted fromdrawings that segments of substantially identical width, each segmentrepresenting a specific note, are provided on each scale.

Many different ways may be used to represent the information on theelements. For instance, in a preferred embodiment, the positioning offingers or stops on the frets is also indicated enabling the guitaristto readily come to terms with the fret positions. Finger positions onother musical instruments may be illustrated in some embodiments of thepresent invention.

Further information may also be provided by the computational device.For instance, in the preferred embodiment to be described later, thevarious modes of a scale are also identifiable. In a preferredembodiment, different starting points on the succession represent thestarting points for the different modes of a scale. This will beapparent from the examples to be given later.

The scales and modes indicated are largely a matter of user choice. In asimple embodiment, where it is not desirable to present too muchinformation for ease of use, it may be desirable to give informationrelating only to the major, and perhaps to the minor scales. In someembodiments, multiple windows or areas within a window, may be providedto indicate various sets of information.

In another embodiment, additional windows or areas may be used toprovide other useful music calculations. For instance, the transposermay be provided to enable the transposition of music from one key toanother. In a preferred embodiment, this may comprise aligning the noteof the existing key with the note corresponding to the new key. Asequence on the portion representing the original key will indicate thenew note positions. This becomes clearer from the illustrated embodimentto be described later though it is also noted that variations of thisexample may also be used.

BRIEF DESCRIPTION OF DRAWINGS

Further aspects of the present invention will become apparent from theensuing description which is given by way of example only and withreference to the accompanying drawings in which:

FIG. 1: is a plan view of the sleeve, comprising the overlying portion,according to one preferred embodiment of the present invention;

FIG. 2: is a plan view of the sliding insert, comprising the overlaidportion, of preferred embodiment of the present invention;

FIG. 3: is a plan view of the sleeve of FIG. 1 overlying the insert ofFIG. 2, in an arbitrarily chosen position;

FIG. 4: is an alternative embodiment illustrating minor and pentatonicscales;

FIG. 5: is a sleeve for the embodiment of FIG. 4;

FIG. 6: is the insert for the embodiment of FIG. 4;

FIG. 7: is a view of the embodiment of FIGS. 1 and 2 with the sequencefor the: two scales indicated;

FIG. 8: is a plan view of apparatus based on the embodiments of FIGS. 1and 2, illustrating the sequence for two different chords;

FIG. 9: is a plan view of apparatus based on the embodiments of FIGS. 1and 2 in a position for transposing from the key of G to the key of C♯,or in the position for determining the major scale for the key of B♭;

FIG. 10: is an illustration of some scale and mode patterns withreference to the embodiments of FIGS. 1 and 2, and

FIG. 11-16: illustrate fret positions for some chord variations (withreference to the embodiments of FIGS. 1 and 2.

BEST MODES FOR CARRYING OUT THE INVENTION Example 1

With reference to the drawings and by way of example only there isprovided a computational device, generally indicated by arrow 1 havingat least two elements 2, 3 slidable with respect to each other, oneelement 2 overlying the other 3, said overlying element 2 beingsubstantially transparent in at least one region 4 where it overlies theother 3, one of said elements being divided into areas 5 representingdistinct musical notes and/or the frets of a guitar, the upper portion 3comprising markings 6 indicating at least one sequence which correspondswith the other element (2, 5) to indicate the notes of a scale and/orthe frets corresponding to the scale on a guitar.

FIG. 1 illustrates a sleeve 2 which represents the overlying element--inother embodiments an element may not comprise a sleeve but rather aguide in which a second element can move. Other variations are possible.

A central portion 4 comprises a transparent window. Overprinted on thisarea is a grid of squares 5 in which the vertical lines roughlycorrespond to the frets of a guitar and the horizontal lines representthe strings. These squares 5 are also useful for delineating the areasassigned to each musical note.

For the convenience of the user, the notes corresponding to each areahave been indicated on the window 4. However on other embodiments, lessthan this amount, or even greater, detail may be provided. Thearrangement of the letters may also vary for differing instruments. Inaddition, only a single row need be provided in simple embodiments ofthe present invention and such an embodiment would be useful forkeyboard use.

The insert 3 is illustrated in FIG. 2. This incorporates a centralsection 7 having sequences of numbers which will correspond with theassigned positions of the notes on the sleeve 2. By following thenumbered sequence, various scales may be followed. Sequences other thannumbers may also be provided and the printed information may be in acontrasting or highlighted colour with respect to the printing on thesleeve 2.

As an example of use, and it should be noted that the embodiments ofFIGS. 1-3 represent major scales, the numeral `1` of the insert 3 isaligned with the musical note representing the key of interest. Forinstance, if we wished to ascertain the notes corresponding to the majorscale of C we would position the numeral `1` in a position correspondingto the note of C. This is apparent in FIG. 3. By following the sequence1, 2, 3 . . . the notes corresponding to the scale of C are readilyidentified. In addition, the fret positions on the neck of the guitarare also indicated, as can be seen in FIG. 3.

The information provided thus also indicates the positions on variousstrings corresponding to the notes. Therefore if a musician did not wishto play a scale on one string, he could readily skip across to anotherstring and tell at a glance from the device where the correct fingerposition would be. This has a potential to aid musicians inimprovisation and performing riffs.

As can be appreciated, much of the information displayed is repeatedfrom string to string and is merely translated left or right accordingto the appropriate position on that string. Where fret positioning isnot required, a single row would provide most of the necessaryinformation for a musician. The length of the row may be shortened orextended as well.

To determine the various modes of a scale, Table 1 may be consulted.This will indicate the number (in the sequence) of the insert 3 whichshould be positioned over the note representing the key desired. Forinstance, for the Dorian mode of the scale of C, the numeral 2 would bealigned to be positioned in the area denoting the note of C, i.e., inthe position which the numeral 1 occupied in the example given above.The numeric sequence indicated in table 1 is then played i.e. 2, 3, 4,5, 6, 7, 1, 2. That would then indicate the notes for the Dorian mode ofthe scale of C major.

As another examples, if the mixolydian mode was to be ascertained, thenthe number 5 would be aligned with C. The sequence 5, 6, 7, 1, 2, 3, 4,5 would then indicate the notes corresponding to the mixolydian mode ofthe scale of C major. If the phrygian mode of the scale A♭, is requiredthen the numeral 3 is aligned with the square indicating G♯/A♭, and thesequence 3, 4, 5, 6, 7, 1, 2, 3 indicates the notes in that scale.

FIGS. 4 through 6 illustrate alternative scales and in particular thepentatonic and mirror scales. Further arrangements for the diminishedand other scales may also be provided but these have not beenillustrated here. It is assumed that in light of the description givenherein, a skilled addressee of the art would be able to construct adevice capable of displaying these scales.

In a preferred embodiment of the present invention, such additional andalternative scales (e.g., as illustrated in FIGS. 4-6) may be providedon the rear of the device.

If the sequences for alternative scales are known, then the embodimentof FIGS. 1 through 3 may be readily determined from the embodiment ofFIGS. 1 through 3. For instance, the diminished scale is represented bythe following sequence:

1, 2, ♭3, 4, ♭5, ♯5, 6, 7, 1.

If for instance we wish to determine the diminished scale in the key ofG♯, the numeral `1` is positioned to be aligned with the G♯/A♭ mark andthe above numerical sequence followed. By way of example, FIG. 7illustrates the G♯ diminished scale over two octaves. This isrepresented by the left-hand cluster of circles. It is noted, in theillustrated embodiment of FIG. 7, for clarity the flat and sharpnumerical positions (e.g., ♭3, ♯5) have not been shown. Thus all of theblank spaces not represented by a number correspond to a flat/sharpposition. Other embodiments may provide this information on the device.

                  TABLE 1                                                         ______________________________________                                        SCALE                                                                         ______________________________________                                        MAJOR SCALE (IONION;)                                                                          1     2     3   4   5   6   7   1                            MODE                                                                          MODES GENERATED BY                                                            THE MAJOR SCALE:                                                              DORIAN MODE      2     3     4   5   6   7   1   2                            PHRYGIAN         3     4     5   6   7   1   2   3                            LYDIAN           4     5     6   7   1   2   3   4                            MIXOLYDIAN       5     6     7   1   2   3   4   5                            AEOLIAN (NATURAL)                                                                              6     7     1   2   3   4   5   6                            MINOR                                                                         LOCRIAN          7     1     2   3   4   5   6   7                            MINOR SCALES:                                                                 THE NATURAL MINOR                                                                              1     2     .sup.♭ 3                                                               4   5   .sup.♭ 6                                                               .sup.♭ 7                                                               1                            SCALE IS THE SAME AS                                                          THE AEOLIAN MODE BUT                                                          CAN ALSO BE PLAYED                                                            USING THE No's:-                                                              MELODIC MINOR    6     7     1   2   3   ♯4                                                                    ♯5                                                                    6                            ______________________________________                                    

Also illustrated in FIG. 7 is the sequence for the G♯ neapolitan minorscale, which is represented by the sequence:

1, ♭2, ♭3, 4, 5, ♭6, 7, 1.

As can be seen, this corresponds to the notes G♯, A, B, C♯, D♯, E, G,G♯.

Apart from known scales, new scales may be invented by the user and thesequences of notes in any key rapidly determined using the apparatusdescribed herein.

                  TABLE 2                                                         ______________________________________                                        Examples of Chord Formulas                                                                       Formula                                                    Chord              (Numerals to play)                                         ______________________________________                                        Major              1, 3, 5                                                    Minor              1, ♭3, 5                                        Seventh            1, 3, 5, ♭7                                     Minor Seventh      1, ♭3, 5, ♭7                         Sixth              1, 3, 5, 6                                                 Minor Sixth        1, ♭3, 5, 6                                     Major Seventh      1, 3, 5, 7                                                 ______________________________________                                         Other chords and scales, either known or invented, may also be readily        determined using many embodiments of the apparatus.                      

Apart from scales, the apparatus may also be used to determine chords,either recognised or invented. Table 2 illustrates some of the sequencefor common recognised chords. The information provided by this table isused in the same manner as for Table 1, to indicate the appropriatenotes belonging to the indicated chord in any key (for example, FIG. 8).As can be appreciated, other common recognised chords exist and may alsobe calculated using the apparatus of the present invention. Similarly,new invented chords can also be created and the notes belonging to thatsequence readily determined.

Also provided on the illustrated embodiment of FIG. 1, is a keytransposer. This comprises a set of areas 8 (FIG. 2) comprising insuccession the standard musical notes. A similar sequence appears on thesleeve 2 though this has been represented in the form of a keyboard forease of use for keyboard orientated musicians. In practice, the notesindicated on the areas 8 on the insert 3 represent the key that themusic piece was originally in. This is then slid in relation to thesleeve so that it aligns with the musical note corresponding to the newkey. For instance, if the key of C were to be transposed into the key ofF, then the letter C on the insert would be aligned with the letter F onthe sleeve 2. Each note read off the insert (3, 8) will align with itsreplacement (indicated on the sleeve 2) in the new key.

Also provided on the sleeve is a numerical sequence 9 which enables thenotes of any key to be readily ascertained. For instance, if the notesin the scale of E are to be ascertained then the I in the sequence 9 isaligned with the letter E. II indicates the next note in the scale, IIIthe third and so forth. As can be seen in FIG. 3, the scale of Ecomprises the sequence E F♯ G♯ A B C♯ D♯ E.

The present invention provides in a useful form, a computational deviceenabling many musical calculations to be readily performed. Thephysically movable nature of the apparatus allows different parametersto be readily converted and calculated and is also much easier to useand more compact than tables. One preferred embodiment has been shown byway of example only though it should be appreciated that the apparatusof the present invention may be constructed and represented in manyother forms. In some ways it could be termed as a musical slide rulethough it differs therefrom as the relationship of music or notes differfrom the logarithmic relationships of a mathematical slide rule.

In addition, many embodiments can show the physical position for fingerson the fret of the guitar. Some embodiments may also be adapted to cliponto the neck of the guitar and be positioned adjacent the strings forready reference by the musician, or may be positioned underneath thestrings. This may involve the use of relatively thin materials whichconform to the contours of the frets on the neck, or the use of mouldedembodiments having raised portions corresponding to the frets. Suchembodiments may require removal or lifting of the apparatus in order toslide the two portions, or may be required to be repositionable alongthe neck of the guitar. In some of these embodiments, the actual neck ofthe guitar could be seen to act as one of the portions and may includesome alignment markings for the user.

Example 2

FIG. 9 illustrates the position of the embodiment of FIGS. 1 and 2 fortransposing music from the key of G to C♯. In the illustration, theletter G (20) of the internal sliding element is aligned with C♯ (21) onthe overlying element. If the next note in the music to be translatedwere a B, then by correlating this with the appropriate segment on theoverlaying scale indicates that the correct note would be F in the newscale of C♯. Similarly, D in the old scale would correlate to G♯/A♭ inthe newly transposed scale. etc.

FIG. 9 also indicates the relative position of the elements fordetermining the major scale of A♯ or B♭. By following through thenumerical sequence (generally indicated by arrow 22) the scale can bedetermined by correlating the notes (of the sequence generally indicatedby arrow 23) to yield the scale, e.g.:

    ______________________________________                                        B♭,                                                                     C,       D,     E♭,                                                                       F,  G,     A,    B♭                    I,   II,      III,   IV,    V,  VI,    VII,  I                                ______________________________________                                    

As can be seen in FIG. 9, information is presented in several formsincluding a numerical sequence, an alphabetical sequence of the musicalnotes, and a representation of a key board. Similarly otherrepresentations could be used, such as (for instance) the bass or trebleregister with the notes represented in the appropriate notational form.The fingering positions on the fret of a keyboard could also beemployed. As can be appreciated there is a wide range of user choicesavailable.

Example 3

Following are some further examples and tables relating to the use ofvarious embodiments of the present invention. For convenience anembodiment similar to that illustrated will be referred to.

On the illustrated embodiment, some of musical notes have beensubstituted by numbers on the insert, the number 1 to 7. So the notesfor example of the C Major scale are:

    ______________________________________                                        In music:                                                                              C     D       E   F     G   A     B   C                              On the insert                                                                          1     2       3   4     5   6     7   1                              ______________________________________                                    

Just as with music notes in which there are sharps and fiats, so may therepresentative numbers also have sharps and flats. However, so as not toclutter the slide rule window, the sharp and flat numbers are notprinted--if you want to play a Flat 7 (♭7) or a sharp 6 (♯6) forexample, it would lie between the numbers 6 and 7 etc.

                                      TABLE 3                                     __________________________________________________________________________     ##STR1##                                                                     __________________________________________________________________________    MAJOR PENTATONIC - Pentatonic Major and Modes Generated by the Pentatonic     Major Scale.                                                                  1st MODE    1 2       3 5       6 1                                           2nd MODE    2 3       5 6       1 2                                           3rd MODE    3 5       6 1       2 3                                           4th MODE    5 6       1 2       3 5                                           5th MODE    6 1       2 3       5 6                                           MINOR PENTATONIC - Pentatonic Minor and Modes generated by the Pentatonic     Minor Scale.                                                                  1st MODE    6 1       2 3       5 6                                           2nd MODE    1 2       3 5       6 1                                           3rd MODE    2 3       5 6       1 2                                           4th MODE    3 5       6 1       2 3                                           5th MODE    5 6       1 2       3 5                                           __________________________________________________________________________     BLUES SCALES  Just include the blue letter B marked on the insert of the      slide rule for both Major and Minor Pentatonic Scales.                        NOTE: Also experiement with added notes in your Pentatonic and Blues          Scales such as cromatic runs.                                            

    SCALES AND MODES FORMULA CHART                                                 ##STR2##                                                                     __________________________________________________________________________    MAJOR (Ionion Mode) - The Major Scale & Modes generated by the Major          Scale                                                                         MAJOR SCALE                                                                   (Ionion Mode)   1 2 3 4 5 6 7 1                                               DORIAN MODE     2 3 4 5 6 7 1 2                                               PHRYGIAN MODE   3 4 5 6 7 1 2 3                                               LYDIAN MODE     4 5 6 7 1 2 3 4                                               MIXOLYDIAN MODE 5 6 7 1 2 3 4 5                                               AEOLIAN MODE =  6 7 1 2 3 4 5 6                                               (Natural Minor Scale)                                                                         (1                                                                              2 .sup.♭ 3                                                             4 5 .sup.♭ 6                                                             .sup.♭ 7                                                              1)                                                                             Alternative                                                                   numeric formula                               LOCRIAN MODE    7 1 2 3 4 5 6 7                                               HARMONIC MINOR SCALE - The Harmonic Minor Scale & Modes generated             by the Harmonic Minor Scale.                                                  MODE 1 HARMONIC MINOR                                                                         1 2 .sup.♭ 3                                                             4 5 .sup.♭ 6                                                             7 1                                               MODE 2          2 .sup.♭ 3                                                             4 5 .sup.♭ 6                                                             7 1 2                                               MODE 3          .sup.♭ 3                                                             4 5 .sup.♭ 6                                                             7 1 2 .sup.♭ 3                             MODE 4          4 5 .sup.♭ 6                                                             7 1 2 .sup.♭ 3                                                             4                                               MODE 5          5 .sup.♭ 6                                                             7 1 2 .sup.♭ 3                                                             4 5                                               MODE 6          .sup.♭ 6                                                             7 1 2 .sup.♭ 3                                                             4 5 .sup.♭ 6                             MODE 7          7 1 2 .sup.♭ 3                                                             4 5 .sup.♭ 6                                                             7                                               MELODIC MINOR - Melodic Minor Scale & Modes generated by the Ascending        Melodic Minor Scale.                                                          MODE 1 Melodic Minor                                                                          1 2 .sup.♭ 3                                                             4 5 6 7 1 Ascending                                     MODE 2 Donan .sup.♭ 2                                                              2 .sup.♭ 3                                                             4 5 6 7 1 2                                               MODE 3 Lydian Augmented                                                                       .sup.♭ 3                                                             4 5 6 7 1 2 .sup.♭ 3                             MODE 4 Lydian .sup.♭ 7                                                             4 5 6 7 1 2 .sup.♭ 3                                                             4                                               MODE 5 Mixolydian .sup.♭ 6                                                         5 6 7 1 2 .sup.♭ 3                                                             4 5                                               MODE 6 Locrian ♯2                                                                 6 7 1 2 .sup.♭ 3                                                             4 5 6                                               MODE 7 Super Locrian                                                                          7 1 2 .sup.♭ 3                                                             4 5 6 7                                               __________________________________________________________________________     NOTE: When descending the natural minor scale is used.                        JAZZ MINOR SCALE  Modes generated by the Jazz Minor scale are the same as     the MELODIC MINOR SCALE both ascending and descending.                        ##STR3##                                                                     __________________________________________________________________________    SPANISH 8 TONE SCALE                                                                          1 .sup.♭ 2                                                             .sup.♭ 3                                                             3 4 .sup.♭ 5                                                             .sup.♭ 6                                                             .sup.♭ 7                                                             1                                             MONGOLIAN       1 2 3 5 6 1                                                   SPANISH SCALE   1 .sup.♭ 2                                                             3 4 5 .sup.♭ 6                                                             .sup.♭ 7                                                             1                                               BALINESE        1 .sup.♭ 2                                                             .sup.♭ 3                                                             5 .sup.♭ 6                                                             1                                                   ORIENTAL SCALE  1 .sup.♭ 2                                                             3 4 .sup.♭ 5                                                             6 .sup.♭ 7                                                             1                                               EGYPTIAN        1 2 4 5 .sup.♭ 7                                                             1                                                   DOUBLE HARMONIC SCALE                                                                         1 .sup.♭ 2                                                             3 4 5 .sup.♭ 6                                                             7 1                                               HINDU SCALE     1 2 3 4 5 .sup.♭ 6                                                             .sup.♭ 7                                                             1                                               MAJOR LOCRIAN   1 2 3 4 .sup.♭ 5                                                             .sup.♭ 6                                                             .sup.♭ 7                                                             1                                               JAPANESE        1 .sup.♭ 2                                                             4 5 .sup.♭ 6                                                             1                                                   HUNGARIAN GYPSY 1 2 .sup.♭ 3                                                             ♯4                                                                  5 .sup.♭ 6                                                             .sup.♭ 7                                                             1                                               GYPSY           1 .sup.♭ 2                                                             3 4 5 .sup.♭ 6                                                             7 1                                               SCALES AND MODES                                                               ##STR4##                                                                     __________________________________________________________________________    NATURAL MINOR   6 7 1 2 3 4 5 6                                               MELODIC MINOR SCALE - Melodic Minor and Modes generated by the                Ascending Melodic Minor Scale                                                 Minor                                                                         MELODIC MINOR   6 7 1 2 3 ♯4                                                                  ♯5                                                                  6 *                                             MODE 1                    M M                                                 DORIAN .sup.♭ 2                                                                    7 1 2 3 ♯4                                                                  ♯5                                                                  6 7                                               2nd MODE                M M                                                   LYDIAN AUGUMENTED                                                                             1 2 3 ♯4                                                                  ♯5                                                                  6 7 1                                               3rd MODE              M M                                                     LYDIAN .sup.♭ 7                                                                    2 3 ♯4                                                                  ♯5                                                                  6 7 1 2                                               4th MODE            M M                                                       MIXOLYDIAN .sup.♭ 6                                                                3 ♯4                                                                  ♯5                                                                  6 7 1 2 3                                               5th MODE          M M                                                         LOCRIAN ♯2                                                                        ♯4                                                                  ♯5                                                                  6 7 1 2 3 ♯4                                  6th MODE        M M           M                                               SUPER LOCRIAN   ♯5                                                                  6 7 1 2 3 ♯4                                                                  ♯5                                  7th MODE        M           M M                                               __________________________________________________________________________     Jazz Minor Scale is the same as the Melodic Minor both Ascending and          Descending.                                                                   *You will notice that for ease of quick reference the letter M is used fo     Melodic Minor and the letter H is used for Harmonic Minor Scales.             ##STR5##                                                                     __________________________________________________________________________    COMBINED MELODIC MINOR - the Melodic Minor Scale is used for                  ascending and the Natural Minor Scale for descending.                         Natural                                                                       MELODIC MINOR   6 7 1 2 3 ♯4                                                                  ♯5                                                                  6 Ascending                                     MODE 1                    M M                                                 NATURAL MINOR   6 7 1 2 3 4 5 6 Descending                                    MODE 1                                                                        DORIAN .sup.♭ 2                                                                    7 1 2 3 ♯4                                                                  ♯5                                                                  6 7 Ascending                                     2nd MODE                M M                                                   NATURAL MINOR 2nd MODE                                                                        7 1 2 3 4 5 6 7 Descending                                    LYDIAN AUGUMENTED                                                                             1 2 3 ♯4                                                                  ♯5                                                                  6 7 1 Ascending                                     3rd MODE              M M                                                     NATURAL MINOR 3th MODE                                                                        1 2 3 4 5 6 7 1 Descending                                    LYDIAN .sup.♭ 7                                                                    2 3 ♯4                                                                  ♯5                                                                  6 7 1 2 Ascending                                     4th MODE            M M                                                       NATURAL MINOR 4th MODE                                                                        2 3 4 5 6 7 1 2 Descending                                    MIXOLYDIAN .sup.♭ 6                                                                3 ♯4                                                                  ♯5                                                                  6 7 1 2 3 Ascending                                     5th MODE          M M                                                         NATURAL MINOR 5th MODE                                                                        3 4 5 6 7 1 2 3 Descending                                    LORIAN ♯2                                                                         ♯4                                                                  ♯5                                                                  6 7 1 2 3 ♯4                                                                  Ascending                                     6th MODE        M M           M                                               NATURAL MIN 6th MODE                                                                          4 5 6 7 1 2 3 4 Descending                                    SUPER LOCRIAN   ♯5                                                                  6 7 1 2 3 ♯4                                                                  ♯5                                                                  Ascending                                     7th MODE        M           M M                                               NATURAL MINOR 7th MODE                                                                        5 6 7 1 2 3 4 5 Descending                                    HARMONIC MINOR - Harmonic Minor and Modes Generated by the Harmonic Minor     Scale.                                                                        1st MODE        6 7 1 2 3 4 ♯5                                                                  6                                                                           H                                                 2nd MODE        7 1 2 3 4 ♯5                                                                  6 7                                                                         H                                                   3rd MODE        1 2 3 4 ♯5                                                                  6 7 1                                                                       H                                                     4th MODE        2 3 4 ♯5                                                                  6 7 1 2                                                                     H                                                       5th MODE        3 4 ♯5                                                                  6 7 1 2 3                                                                   H                                                         6th MODE        4 ♯5                                                                  6 7 1 2 3 4                                                                 H                                                           7th MODE        ♯5                                                                  6 7 1 2 3 4 ♯5                                                  H             H                                               __________________________________________________________________________     ##STR6##                                                                     __________________________________________________________________________    MAJOR PENTATONIC - Pentatonic Major and Modes Generated by the Pentatonic     Major Scale.                                                                  1st MODE    1 2       3 5       6 1                                           2nd MODE    2 3       5 6       1 2                                           3rd MODE    3 5       6 1       2 3                                           4th MODE    5 6       1 2       3 5                                           5th MODE    6 1       2 3       5 6                                           MINOR PENTATONIC - Pentatonic Minor and Modes generated by the Pentatonic     Minor Scale.                                                                  1st MODE    6 1       2 3       5 6                                           2nd MODE    1 2       3 5       6 1                                           3rd MODE    2 3       5 6       1 2                                           4th MODE    3 5       6 1       2 3                                           5th MODE    5 6       1 2       3 5                                           __________________________________________________________________________     BLUES SCALES  Just include the blue letter B marked on the insert of the      slide rule for both Major and Minor Pentatonic Scales.                        NOTE: Also experiement with added notes in your Pentatonic and Blues          Scales such as cromatic runs.                                            

Regarding chord combinations, only the numbers 1 to 7 are printed on theinsert of the illustrated embodiment. If for example you wish to find aC11 chord, the chord formula for C11 is as follows, printed below:

    ______________________________________                                        =       1     3         5   7       9   11                                    ______________________________________                                    

The numbers you would use on the slide rule are:

    ______________________________________                                        =       1     3         5   7       2   4                                     ______________________________________                                    

Because 2≅9 (i.e., 9-7=2) and 4≅11 (i.e., 11-7=4) (see also section onchords)

Scales and Modes

On the Scales and Mode Table (see Table 3), there are two columns. Thefirst column shows the names of the scales and modes. The second columnshows a series of numbers beside each of the names.

To play any scale or mode, slide the insert so the first number that isshown (in the second column next to the name of the scale or mode youwant to play) appears immediately on the right and beside the note youwish to start from (that is printed on the sleeve). FIG. 10 shows somecommon scale and mode patterns and their fingering.

Example No. 3a

To Play the C Major Scale

1. Refer to the scales and mode chart, marked for window A. On the chartyou will see in the name column--Major Scale (which is also known as theionian mode). This is followed by the numbers 1, 2, 3, 4, 5, 6, 7, 1 inthe second numbers column.

2. Now as the first number shown is the number `1`, slide the insertuntil all the numbers `1` appear next to the notes marked C on the frontwindow of the sleeve (window A).

3. All the numbers shown in window A will now correspond with the notesas shown below:

    ______________________________________                                        Numbers 1     2      3    4   5    6    7   1    etc.                         Notes   C     D      E    F   G    A    B   C    etc.                         ______________________________________                                    

These numbers shown above, show the notes of the C Major scale you canplay in every possible position on the neck of the Guitar, ascending ordescending.

4. If you play the numbers shown above in consecutive order, starting onthe number one and ending on another number one, you will be playing theC Major scale.

Special Note

Before we continue with our Example No. 3a please take note that if youwished to play any other Major Scale such as D Major scale, just slidethe insert so the numbers `1` appear beside all the notes marked on D onthis sleeve and apply all the procedures for Example 1. The numbers 1,2, 3, 4, 5, 6, 7, 1 show the notes of the D Major scale.

    ______________________________________                                        e.g. Numbers   1     2    3   4    5   6    7   1   etc.                           Notes     D     E    F♯                                                                    G    A   B    C♯                                                                    D   etc.                      ______________________________________                                    

It will be obvious now that there are a variety of different ways,patterns or directions we can use to play the major scale.

Now back to our Example 1. Key and Scale of C Major

5. For creating solo improvisations in the key of C Major, you can playany of the numbers shown, in or out of sequence, starting on any number,and ending on any number so as to create solo improvisations, lead runs,arpeggios, scale runs, triads, finger tapping and playing harmony runssuch as two third notes together.

Example No. 3b

To play the C Phrygian Mode

(which is the 3rd mode of the A♭ Major scale)

1. Refer to the scales and modes chart, for window A.

2. Look for the name "Phrygian Mode".

3. Find the first number shown for the formula in the second column,immediately on the right, opposite the name "Phrygian Mode". The firstnumber shown is No. 3.

4. Slide the insert so that all the numbers 3 appear immediately on theright of and beside all the notes of C, shown on the sleeve.

5. Now the numbers shown for the "Phrygian Mode" on the scales and modeschart are 3, 4, 5, 6, 7, 1, 2, 3 so if you start playing on the Number 3in consecutive order you will be playing:

    ______________________________________                                        Numbers  3     4       5   6     7   1     2   3                              Notes    C     Df      E♭                                                                     F     G   A♭                                                                       B♭                                                                     C                              ______________________________________                                    

which are notes of the C Phrygian Mode.

6. As in Example No. 1 you are free to experiment with the C PhrygianMode, by playing the No's. 3, 4, 5, 6, 7, 1, 2, 3 in order starting atany position on the neck of the guitar ascending or descending.

7. For creating solo improvisations, etc., in C Phrygian, you can playany of the No's, shown in or out of sequence, starting on any number,and ending on any number, so as to create solo improvisations, leadruns, riffs, arpeggios, Harmony runs, Finger tapping, etc.

Example No. 3c

To play the E Aeolian Mode

(E Aeolian is also known as E Natural minor. Em is the Relative minorfor G Major).

1. Refer to the scale and modes chart. Window A.

2. Look for the name "Aeolian Mode".

3. The first number shown in the formula column of the Aeolian Mode isthe No. 6.

4. Now slide the insert so that all the No's. 6 on the insert are nextto all the notes marked E on the sleeve in Window A.

5. The formula for the Aeolian Mode shown on the scales and modes chartare 6, 7, 1, 2, 3, 4, 5, 6 so if you play the numbers in consecutiveorder you will be playing

    ______________________________________                                        Numbers  6     7       1   2     3   4     5   6                              Notes    E     F♯                                                                        G   A     B   C     D   E                              ______________________________________                                    

which are the notes of the E Aeolian Mode.

6. As in the previous examples you are now free to experiment with the EAeolian Mode in any position on the neck of the Guitar ascending ordescending.

7. You can create solo improvisation, etc., by playing the numbers shownin or out of sequence and starting on any number, etc. Just use yourear, imagination and have lots of fun.

Note: The Aeolian Mode is also known as the natural minor scale. So youwill find two numbered formula's on the scales and modes chart forwindow A as shown below.

    ______________________________________                                        Aeolian Mode  6     7      1   2    3   4    5   6                            Natural Minor Scale                                                                         1     2      3   ♭4                                                                      5   6    ♭7                                                                     ♭1                ______________________________________                                    

Both formulas will give the same notes. The 6th note of any Major Scaleis called the relative minor.

All scales, modes, and chords, may be found using Window A on the sleeveof the slide rule. However for easy focus on minor scales, pentatonics,blues scales and their modes, on the reverse of the slide rule, windowsP and M have been created. Use the scale and mode chart formulas forwindows P and M, if using the reverse side of the slide rule.

Melodic Minor Scale--Window M or A

1. The melodic minor scale is usually played ascending (going up inpitch). When descending (coming back down in pitch) the notes of theNatural Minor scale are used.

Jazz Minor Scale

2. If the notes of the Melodic Minor Scale are used both ascending anddescending, this is known as the Jazz Minor scale. So the numberedformula for the Melodic Minor and combined Melodic and Natural Minorscales are shown on the scale and modes chart.

To play any of the scales or modes shown on the scales and modes chartdo the same as with Examples 1, 2 or 3 previously given.

A. Find the name of the Scale or Mode you wish to play and look for the1st number of the formula shown on the chart.

B. Slide the insert so the first number shown, appears beside andimmediately on the right of the note you wish to start form.

C. Then just play the numbers shown.

How to Play the Modes of Other Scales

A lot of scales are shown on the scales and modes chart. If you wish toexperiment with some of the modes of these scales you simply start onanother of the numbers shown. For example, the formula for theNeapolitan Major Scale is: 1, ♭2, ♭,3, 4, 5, 6, 7, 1

If you want to play the C Neapolitan Major Scale you slide the insert sothe number `1` is on the note of C and you have

    ______________________________________                                        Numbers                                                                              1      2      ♭3                                                                      ♭4                                                                      5    6   7    1    etc.                        Notes  C      D      E♭                                                                      F♭                                                                      G    A   B    C    etc.                        ______________________________________                                    

Now if you were to slide the insert so the number ♭2 (the second numberof the scale) was on the C note, you would then have the numbers of thesecond mode of the Neapolitan Major Scale in C, which are:

    ______________________________________                                        Numbers  ♭2                                                                       ♭3                                                                         4   5     6   7     1   ♭2                  Notes    C     D       E   F♯                                                                      G♯                                                                    A♯                                                                      B   C                              ______________________________________                                    

Now if you had the third number of the Neapolitan Major scale, which is♭3 on the note of C, this would now be the 3rd mode in C. Start thenumber four on the note of C and you have the 4th Mode, etc.

This scale has seven possible modes as do a lot of other scales. So nowyou can experiment with modes of other scales.

If you have a scale that is not on the scales and modes chart, or youcreate a scale of your own you wish to remember and experiment with,write down the notes, for example:

Notes of scale are A, B♭, C, Df, E♭, F, G, A.

1. As the note of A is the first note of the scale, slide the insert sothe number 1 is the note of A. Now all you do is plot out the numbers ofthe notes and we have a formula.

    ______________________________________                                        Notes  A       B♭                                                                       C     D♭                                                                     D     E♭                                                                     F     G   A                          Numbers                                                                              1       ♭2                                                                       ♭3                                                                       3   4     ♭5                                                                     ♭6                                                                       ♭7                                                                     1                          ______________________________________                                    

Now you can experiment with this scale and it's modes in any keyanywhere on the neck of the guitar using the above formula. This scale,by the way, is actually the Spanish 8 tone scale.

Chords

1. Chords are made up from formulas relating to the major scale fromwhich the chord is named. Take the C Major scale for an example:

    ______________________________________                                        I     II       III   IV    V   VI     VII  I                                  C     D        E     F     G   A      B    C                                  ______________________________________                                    

The chord of C Major uses the 1st, 3rd and 5th notes of the C Majorscale.

    ______________________________________                                        Notes of C Major Chord                                                                         C          E     G                                           Numbered formula 1          3     5                                           ______________________________________                                    

The chord of C Minor uses the 1st flat, 3rd and 5th notes of the C Majorscale.

    ______________________________________                                        Notes of C Minor Chord                                                                         C          E♭                                                                       G                                           Numbered formula 1          ♭3                                                                       5                                           ______________________________________                                    

A list of chords and formulas are given on the chord formula chart. Byadding more notes from the scale you can create other numerous chords.For example, if you add the seventh note to the C Major chord you get aC Major 7th chord.

    ______________________________________                                        =     C       E     G     B   D     =   C Major 9th                                 1       3     5     7   9                                               ______________________________________                                    

Now we see that although the Major scale only has seven notes you cancontinue to count up to thirteen as this is like adding on notes anoctave higher--the 2nd note of a Major scales could also be called the9th note.

    ______________________________________                                        e.g. I     II    III IV  V   VI  VII  VIII =   (I)IX = II etc.                     C     D     E   F   G   A   B    C        D                              ______________________________________                                    

You will see that on the insert for the slide rule the numbers are from1 to 7 and no higher so as not to clutter the insert with unnecessarynumbers. So when looking for chord formulas remember that:

    ______________________________________                                        The number 2                                                                            could be the equivalent of the                                                                   9th note of the                                                               scale                                            The number ♭2                                                                could be the equivalent of the                                                                   ♭9th note of the                                                   scale                                            The number ♯2                                                               could be the equivalent of the                                                                   ♯9th note of the                                                  scale                                            The number 4                                                                            could be the equivalent of the                                                                   11th note of the                                                              scale                                            The number 6                                                                            could be the equivalent of the                                                                   13th note of the                                                              scale                                            ______________________________________                                    

To be able to find and play chords using the slide rule:

1. Refer to the chord formula chart. Beside the names and symbols ofeach chord is a series of numbers similar to the scales and modes offormulas.

2. By following the same procedures for scales and modes you can findchords.

Example 3d

To find the C Major Chord

The formula for a Major Chord is 1, 3, 5. Slide the insert so thenumbers 1 are next to the C notes on window A of the sleeve. Now byplaying the numbers 1, 3, 5 in any order, combination, or position onthe neck of the guitar you have the chord of C Major. With chordformulas, you can double up on some of the numbers. For C Major=1, 3, 5you could have three number `1`, two number `5`, and one number `3`using up all six strings of the guitar for the chord. Or you could usejust one number `1`, one number `5`, and one number `3` using only threestrings of the guitar for your chord, creating what is called a triad.

You should have at least one of each of the formula numbers in yourchord. There are of course exceptions to this rule, such as: a chordthat has so many formula numbers that you just don't have enough stringsto play them all at once as a chord; a chord that may be just tooawkward to play. Generally the first note is omitted and the chord isreferred to as a `non root chord`.

For some examples and ideas refer to the chord chart of `InterestingSounding Chords`.

How to Find and Know What Chords Can Be Used With Any Scale

Note: We will need to refer to

1. The chord formula chart (see Table 4)

2. The major scale in all 12 keys chart.

For our example we will use the C Major scale but remember this theorycan be applied to any scale. Chords are made up from a formula relatingto the "Major Scale" from which the chord is named. When using a certainscale we combine the notes of that scale to create chords that may beused for that particular scale. This process is generally referred to asharmonising the scale, because we are combining different notes of thescale with each other which creates harmony, giving us our chords.

    ______________________________________                                        To use the C Major                                                                            I     II    III IV  V   VI  VII  I                            Scale           C     D     E   F   G   A   B    C                            Numbers on the slide rule                                                                     1     2     3   4   5   6   7    1                            insert                                                                        ______________________________________                                    

By combining the notes of the scale above we now get a combination of avariety of chords that originate out of the scale. Generally the notesare combined in thirds. So lets start with the 1st--C, 3rd--E, and5th--G note of the scale. Now we have a chord. So now unless you alreadyknow your chord formulas refer to the chord formula chart and you seethat the formula 1 3 5=Major Chord. So the first chord we haveconstructed from the first note of the C Major Scale is the chord of CMajor. Now if we want we could add another note from the scale chord ofC Major. The next note we could add is a third away from the G note. Sowe now add the seventh note which is B. Now we have the chord formulafor a Major 7th chord.

    ______________________________________                                        1     3       5     7      =   C Major 7th Chord                              C     E       G     B                                                         ______________________________________                                    

Now if we added another note a third away from the note of B which isthe ninth note the note D. We find another chord we can also use as afirst chord in the key of C Major.

    ______________________________________                                        1     3     5        7   9*    =   C Major Chord                              C     E     G        B   D                                                    ______________________________________                                         (*Remember the 9th note is the same as the the 2dn note in the Scale.)   

                  TABLE 4                                                         ______________________________________                                        CHORD SYMBOLS AND FORMULA CHART                                               CHORD         CHORD SYMBOLS   FORMULA                                         ______________________________________                                        MAJOR         MAJ. M.         135                                             MINOR         min. m. --      1.sup.♭ 35                           SEVENTH       7               135.sup.♭ 7                          MINOR SEVENTH min 7 -7        1.sup.♭ 35.sup.♭ 7        MINOR SEVEN FLAT                                                                            m7 .sup.♭ 5                                                                        1.sup.♭ 3 .sup.♭                                        5.sup.♭ 7                            5 (Half Diminished)                                                           SIXTH         6 Δ6 M6   1.sup.♭ 356                          MINOR SIXTH   m6              1.sup.♭ 356                          MAJOR 7TH     M7 Δ7 7-  1357                                            AUGMENTED     AUG + +5 #5.    13#5                                            DIMINISHED SEVEN                                                                            DIM. O7- DIM 7th                                                                              1 .sup.♭ 3 .sup.♭ 5                                     .sup.♭♭ 7                 DIMINISHED    DIM             1 .sup.♭ 3 .sup.♭ 5       MAJOR FLAT 5  .sup.♭ 5 DIM5th                                                                    13.sup.♭ 5                           SEVENTH AUG 5TH                                                                             7#5. 7+5. 7+.   13#5.sup.♭ 7                         SEVENTH FLAT 5                                                                              7.sup.♭ 5. 7-5. 7 DIM 5th.                                                         13.sup.♭ 5.sup.♭ 7        SEVEN SHARP 5 7#5.sup.♭ 9 7+5-9                                                                  13#5 .sup.♭ 7 .sup.♭                                    2                                               FLAT NINE                                                                     NINTH         9               135.sup.♭ 7 2                        MAJOR 9TH     Δ9 M9 0   135 7 2                                         MAJOR ADD 9   ADD 9           1352                                            MINOR 9TH     m9              1.sup.♭ 35.sup.♭ 7 2      SUSPENDED 4TH SUS 4 SUS.      145                                             SEVEN SUSPENDED                                                                             7 SUS 4         145.sup.♭ 7                          NINTH AUG 5TH 9#5             13#5.sup.♭ 7 2                       SEVEN FLAT NINE                                                                             7.sup.♭ 9.sup.♭ 5                                                       13.sup.♭ 5.sup.♭ 7                                      .sup.♭ 2                             FLAT 5                                                                        SIX ADD 9     MAJ6 ADD 9 6(9). 6/9                                                                          13562                                           MINOR 6/9     m6 ADD9 m6/9    1.sup.♭ 3562                         MINOR MAJOR   mM7             1.sup.♭ 357                          SEVENTH                                                                       SEVEN SHARP 9 7#9. 7+9. 7 AUG 9th                                                                           135.sup.♭ 7#2                        SEVEN FLAT 9  7 min 9 7 -9    135.sup.♭ 7.sup.♭ 2       NINE FLAT 5   9.sup.♭ 5.                                                                         13.sup.♭ 5.sup.♭ 72       ELEVENTH      11              135.sup.♭ 72 4                       THIRTEENTH    13              135.sup.♭ 7 2 4 6                    THIRTEEN FLAT 9                                                                             13.sup.♭ 9                                                                         135.sup.♭ 7 .sup.♭ 2                                    4 6                                             THIRTEEN♭5 ♭9                                                         13.sup.♭ 5.sup.♭ 9                                                      13.sup.♭ 5.sup.♭                                        7.sup.♭ 2 4 6                        MINOR THIRTEEN                                                                              m13             1.sup.♭ 35.sup.♭                                        7.sup.♭ 2 4 6                        ______________________________________                                         The Diminished seven chord is often substituted for the diminished chord      triad 1 .sup.♭ 3 .sup.♭ 5                          

We could create different combinations still to create more chords. Forexample, combine the 1st, 3rd, 5th and also the 6th note and we have

    ______________________________________                                        1     3        5     6      =   C Major 6th Chord                             C     E        G     A                                                        ______________________________________                                    

or combine the 1st, 4th and 5th notes and we have

    ______________________________________                                        1         4     5          =   C sus. 4 Chord                                 C         F     G                                                             ______________________________________                                    

Now after having harmonised some of the notes starting from the firstnote of C, we have these chords that we may use so far.

1. C Major

2. C Major 7

3. C Major 9

4. C Major 6

5. C sus. 4

There are still other combinations that we could find.

Now lets build some chords from the second note of the C Major Scale theNote D. By adding in thirds to start with, we get our first chord fromthe 2nd note of the scale.

    ______________________________________                                        II               IV    VI                                                     D                F     A                                                      ______________________________________                                    

Remember these notes are from the C Major scale so to find out whatchord it actually is we need to compare the notes D F A to the D Majorscale.

To do this you may either use the "Major Scale in all twelve keys chart"or the Major Scale finder on the slide rule. By sliding the insert sothe D note is above the Roman numeral I, the Roman numerals show the DMajor scale as seen below.

    ______________________________________                                        I     II       III   IV     V   VI     VII  I                                 D     E        F♯                                                                      G      A   B      C♯                                                                     D                                 ______________________________________                                    

Now compare the notes D F A that come from the C Major scale with the DMajor scale as shown below to see what chord the notes D F A make.

    ______________________________________                                                   I      II    III  IV  V   VI  VII   I                              D Major Scale                                                                            D      E     F♯                                                                     G   A   B   C♯                                                                      D                              Notes from the C                                                                         D            F        A                                            Major Scale                                                                   Chord Formula                                                                            1            ♭3                                                                          5   =   D minor chord                        ______________________________________                                    

Now by harmonising the notes of the C Major scale from the second noteof D, we now have a D Minor chord.

You can continue to add more notes to create other chords as we did withthe C note. But remember as the note we are starting with now is the Dnote when you have your notes together such as D F A C you compare themto the scale of D to find out what chord it is D F A C is the 1st, ♭3rd,5th and ♭7th notes of the D Major Scale and this formula is:

    ______________________________________                                        D     F        A     C      =   D minor 7th chord                             1     ♭3                                                                          5     ♭7                                            ______________________________________                                    

Remember when you start harmonising the C Major scale from the thirdnote, the note of E, you get, for example E G B. Now compare those notesto the scale of E Major to find out what chord formula it is so you knowwhat chord it creates.

    ______________________________________                                        e.g.   E        G     B      =   E minor chord                                       1        ♭3                                                                       5                                                       ______________________________________                                    

By now it will be obvious that we can construct chords from our scalestarting from each individual notes of the scale.

Scales & Modes Over Chord Progressions

    ______________________________________                                        C Major Scale (Ionian                                                         Mode)                                                                                         I     II    III IV  V   VI  VII  I                            Numbers shown on insert                                                                       1     2     3   4   5   6   7    1                            Notes of C Major scale                                                                        C     D     E   F   G   A   B°                                                                          C                            ______________________________________                                    

Here are some chords that may be used for creating chord progressions inthe key of C Major.

    ______________________________________                                        I         II     III    IV    V   VI   VII   I                                C         Dm     Em     F     G   Am   B°                                                                           C                                C Mj7     Dm7    Em7    FMj7  G7  Am7  Bm7♭5                                                                    CMj7                             ______________________________________                                        Example 1 Chord Progression in Key of C                                       ______________________________________                                        I Major     II Minor   V Major    I Major                                     C///        Dm///      G///       C///                                        ______________________________________                                    

Now if you record on tape, the above chord progression repeated a fewtimes, or have someone play it for you, you can now play the notes ofthe C Major Scale and experiment with the notes, in a variety of ways inany position on the neck of the guitar, to create solo ideas andimprovisations.

So by using window A on the sleeve of the slide rule and by sliding theinsert so the number 1 is next to the note of C we now have the formula:

    ______________________________________                                        Number shown on insert                                                                        1      2     3   4   5   6   7   1                            etc: all over the neck.                                                       Notes of the C Major Scale                                                                    C      D     E   F   G   A   B   C                            shown on the sleeve                                                           etc: all over the neck.                                                       ______________________________________                                    

We now have the notes of the C Major Scale at a glance, shown by thenumbers, all over the neck of the guitar, and now we may experiment atimprovising a solo, using a combination of the numbers shown.Embodiments which allow the apparatus to be attached to the neck of theguitar or instrument may be helpful. Some embodiments may slip behindthe strings while some may clip to the neck in alignment with the actualfrets.

Now experiment with a different chord progression such as:

    ______________________________________                                        C MAJ 7/// F MAJ 7///    Dm7///   G///                                        ______________________________________                                    

or create your own progression from any of the chords of the C MajorScale.

Now say for example we will start with the second note in the Key of Cwhich is the note D. We could use a D minor or D minor 7th chord tostart our progression, and for our second chord in the progression wecould use the first note in the key of C to find our next chord whichcould be a C Major chord or C Maj 7 chord.

Now we will use the fifth note from the key of C which is the note of G,and our third chord could be a G chord or G7 chord.

As we are playing, a progression starting with the second note or chord,of the C Major scale as our tonic sound, we are playing in a mode, themode of D Dorian.

    ______________________________________                                        Example 2 Chord Progression in D Dorian Mode                                  ______________________________________                                        Dm///     C///        G///      Dm///                                         ______________________________________                                    

Now if we play the C Major scale over this chord progression, butplacing emphasis on the second note of the C Major scale the note of D,and perhaps by starting a solo run on the note of D, we can improviseall over the neck of the guitar to create solo's of our choice.Experiment, always use your ear and have lots of fun.

As in Example 1 the slide is set so the number 1 shown on the insert ison the note of C on the sleeve. Now the numeric formula for Dorian modeis:

    ______________________________________                                        Formula for Dorian Mode                                                                      2      3     4   5   6    7   1   2                            Notes of D Dorian                                                                            D      E     F   G   A    B   C   D                            ______________________________________                                    

If you start the solo on the number 2 first, it will stress the sound ofthe second note of the C Major scale as we are now playing a chordprogression in D Dorian mode.

You can see and hear that D Dorian mode is really the C Major scale in asense, except our chord progression is played around the sound of the Dnote and chord of Dm.

So although the notes and chords come from the C Major scale, we are notusing C note or chord of that scale. You are playing in Major or Ionianmode. If you play a chord progression based on the second note or chordof that scale you are playing in it's second mode, the Dorian mode inthis case.

It is possible to start or create a chord progression based on any ofthe notes of the scale as the tonic sound, and these create what iscalled the modes, depending on which note you start creating aprogression from, depending on if its the second mode, third mode, orfourth mode, etc.

Below is a diagram of the names of the modes starting on each note ofthe C Major scale.

    __________________________________________________________________________         I    II  III  IV  V     VI   VII                                              C    D   E    F   G     A    B                                           Name of                                                                            (Major)                                                                            Dorian                                                                            Phrygian                                                                           Lydian                                                                            Mixolydian                                                                          Aeolian                                                                            Locrian                                     Mode Ionian                                                                             Mode                                                                              Mode Mode                                                                              Mode  Mode Mode                                        Modes                                                                              1st Mode                                                                           2nd 3rd  4th 5th Mode                                                                            6th  7th Mode                                              Mode                                                                              Mode Mode      Mode                                             __________________________________________________________________________

Generally all scales have modes that may be used. But of course theywon't be all practical or sound good.

Generally the Major scale, Harmonic minor, Melodic minor and Jazz minorscales have modes that are used--not necessarily all their modes, butsome of them.

When the notes of any scale are harmonised they help to show some of thechords that may be used with that scale and their modes.

Below is a list of some of the more common scales that have beenharmonised to show some of the chords that may be used with thosescales.

    __________________________________________________________________________    HARMONISED C MAJOR SCALE                                                      C     D    E     F    G     A    B                                            I     II   III   IV   V     VI   VII                                          Major Minor                                                                              Minor Major                                                                              Major Minor                                                                              Diminished                                   Major 7                                                                             Minor 7                                                                            Minor 7                                                                             Major 7                                                                            Dom 7th                                                                             Minor 7                                                                            m7♭5                              __________________________________________________________________________    HARMONISED HARMONIC MINOR SCALE                                               C     D    E♭                                                                       F    G     A♭                                                                      B                                            I     II   III   IV   V     VI   VII                                          Major Dim  Aug   Minor                                                                              Major Minor                                                                              Diminished                                   m/M7  Half Dim                                                                           M7♯5                                                                    min7 Dom7  maj7 Dim7                                         __________________________________________________________________________    HARMONISED C MELODIC MINOR SCALE                                              C     D    E♭                                                                       F    G     A♭                                                                      B                                            I     II   III   IV   V     VI   VII                                          minor minor                                                                              Aug   Major                                                                              Major Dim  Dim                                          m/M7  m7   M7♯5                                                                    Dom7th                                                                             Dom7th                                                                              m7♭5                                                                    m7♭5                              __________________________________________________________________________    HARMONISED C MIXOLYDIAN MODE (also referred to as                             the dominant 7th scale)                                                       C     D    E     F    G     A    B♭                                I     II   III   IV   V     VI   VII                                          Maj   minor                                                                              Dim   Major                                                                              minor minor                                                                              Major                                        Dom 7th                                                                             m7th M7♭5                                                                     M7   minor 7                                                                             m7   M7                                           __________________________________________________________________________     Please note: That as seen above, chord names may be written in a variety      of ways, such as Minor 7♭5 may abbreviated to m7♭5.     Refer to Chord Symbol Formula chart.                                     

Naming Chords

There is a particular chord you play or have discovered, but you are notsure of what it is called, this is how you can find out.

1. Draw the shape of the chord

eg.

X=strings not played

O=note held down by fingers

No's=the no's in the circles are the fingers to use ##STR7## 2. Usingwindow A of the sleeve, slide the insert so the number 1 appears on oneof the notes of the chord your playing.

3. Then write down the numbers corresponding to the notes of your chord,and you will have a chord formula.

4. If the formula does not make much sense then move the insert so thenumber 1 appears on another of the notes of the chord and see if thenumbers showing for all the notes of the chord make sense now.

5. If not then do the same again, move the number 1 to another note andtry again.

6. Eventually you should be able to create a proper chord formula andfind the name of this chord.

7. The formula for the example show is 1 3 5 7 the number 1 is on thenote of G. The number 3 is on the note of B. The number 5 is on the noteof D and the number 7 is on the note of F♯/G♭ so now we end up with:

    ______________________________________                                        Notes         G     B         D     F♯/G♭              Chord Formula 1     3         5     7                                                     =   G Maj7 Chord                                                  ______________________________________                                    

Unless you are already familiar with your chord formulas, you may needto refer to the chord formula chart.

Finger Tapping

The slide rule can be useful for developing creative ideas for tapping.Decide what scale you wish to experiment with, and set the slide to thatscale. Then simply by holding down any note you want to start on withyour chord hand, tap out a combination of the scale notes shown abovethe note being held down.

Transposing

If you have a chord progression for a song and want to change the key,use the slide transposer section of the slide rule.

    ______________________________________                                        Example:                                                                              Chord Progression in the Key of C                                     ______________________________________                                        II:     CMaj7/// I Dmin7/// I  G/// I G/// :II                                II:     FMaj7/// I Fmin7/// I  G/// I G/// :II                                ______________________________________                                    

Now we want to change this progression from the Key of C to the Key ofF.

1. Slide the insert so the note of C (on the insert) is directlyunderneath the letter (note) of F which is marked on the keyboarddiagram.

2. So now the first chord of C Maj 7 in the old key now becomes thechord of F Maj 7 in the new key.

3. Now the 2nd chord in the old key is D min 7. You will see that abovethe letter E is the letter G on the keyboard diagram so the chord ofDmin 7 in the old key now becomes the chord of Gmin 7 in the new key.

4. The same procedure also applies for chords. You can change the tonicname of the chord in the old key, to the tonic name shown above in thenew key.

5. So, for instance, the above chord progression in the key of C nowbecomes:

    ______________________________________                                        II:   FMaj7/// I Gmin7/// I   C/// I                                                                              C/// :II                                  II:   B♭Maj7/// I                                                                   B♭min7/// I                                                                     C/// I                                                                              C/// :II                                  ______________________________________                                    

Chords That Have More Than One Name

Some chords will have more than one name as the notes of the chord arethe same, but depending on the note named as the Tonic, will depend onthe name the chord is given.

Below is an analysis of one chord that has two names. ##STR8##

The formula and notes for this chord with G as the Tonic are:

    ______________________________________                                        Notes of Chord  G     B♭                                                                            D   E                                        Formula numbers I     ♭3                                                                            5   6                                        ______________________________________                                    

The number 1 on the insert will be on the note of G on the sleeve.

And with E as the Tonic:

    ______________________________________                                        Notes of Chord                                                                             E     G       B♭                                                                     D     =   Em7♭5                     Formula numbers                                                                            I     ♭3                                                                         ♭5                                                                     ♭7                                  ______________________________________                                    

The number 1 on the insert will be the note of E on the sleeve. As youcan see the notes are the same.

Keyboard/Piano

The slide rule may also be used for finding scales, modes or chords inany key on a keyboard. The procedure is the same as for finding thisinformation for guitar, but instead of looking at the numbers all overthe neck of the strings we only refer to the numbers on the bottom line(bass string) directly above the keyboard diagram.

If you compare the notes of the 6th base string E with the keys below onthe keyboard diagram, you will notice that the notes above and below arethe same.

For example, to find the C Major Scale:

Slide the insert so the number 1 on the bottom line is directly abovethe note of C on the keyboard diagram.

Now all the numbers on the bottom line are above the notes of the keysyou play for the C Major Scale.

    ______________________________________                                        C      D     E       F   G     A   B     C   scale                            1      3     5       =   C     E   G         chord                            ______________________________________                                    

So now you can see in our example above that the slide rule is set forthe Scale of C and you can find the scale either on the guitar or alsoon the piano. If you want to find C Dorian mode slide the insert so thenumber `2` is above the key of C on the keyboard diagram and you willnotice that all the numbers `2` are also next to the notes of C on theguitar as well. So now you can find the C Dorian mode on the guitar orkeyboard.

Aspects of the present invention have been described by way of exampleonly and it should be appreciated that modifications and additions maybe made thereto without departing from the scope thereof as defined inthe appended claims.

I claim:
 1. Apparatus comprising a first element and a second elementwhose position relative to each other can be altered, and in which aportion of both said elements is visible during use of the apparatus,said first clement comprisinga visual representation of a keyboard andan associated window portion allowing keyboard associated information onsaid second clement to be visible, and a visual representation of astringed instrument's fret, as said associated window portion allowingfrets of a fingerboard of a stringed instrument fret associatedinformation on said second element to be visible, and informationidentifying the relative position of different musical notes on saidrepresentation of said stringed instrument's fingerboard fret;saidsecond element comprising: said fret associated information comprisingat least one indicated sequence corresponding to either or both amusical scale or chord, this fret associated information in conjunctionwith said visual representation of said stringed instrument'sfingerboard fret on said first element indicating relative fingerpositioning for said stringed instrument's fingerboard fret, and saidkeyboard associated information in turn comprising an accepted notationfor said musical notes, the keyboard associated information beingalignable with the visual representation of said keyboard on said firstelement thereby allowing said represented notes to be correlated withsaid notes of the visual representation of said keyboard for keytransposition;and wherein either or both: i) the positioning of thevisual keyboard representation on the first element is such that theposition of the musical notes represented by the keyboard correlate tothe positioning of the indicated musical notes on at least one of thestrings of the visual representation of the frets, and ii) on saidsecond element, the position of a sequence of said fret associatedinformation representing said scale, correlates in position to asequence of musical notes on said keyboard associated informationbelonging to said scale.
 2. The apparatus as claimed in claim 1 whereina said indicated scale, chord or sequence comprises at least one of apreferred group of keys comprising: a major key, a minor key, andincluding the Dorian, phrygian, lydian, mixolydian, aeolian, and locrianmodes, and including melodic, harmonised, pentatonic and diminishedvariations.
 3. The apparatus as claimed in claim 1 wherein saidindicated sequence of the fret associated information on the secondelement comprises at least one of the following forms of representation:a numerical sequence (including Roman and Arabic notations), analphabetic sequence, and said sequence of musical notes.
 4. Theapparatus as claimed in claim 1 wherein said accepted notation for saidmusical notes of the keyboard associated information of the secondelement comprises either or both a stave representation of said musicalnotes, and alphabetic identification of the said musical notes.
 5. Theapparatus as claimed in claim 1 which includes at least one additionalelement, movable with respect to said first and second elements, whichincludes at least one of said indicated sequence, or a member of saidgroup of musical representations.
 6. The apparatus as claimed in claim 1wherein said first and second elements slide linearly with respect toeach other and at least one said visible portion of different saidelements may be positioned side by side adjacently with respect to eachother.
 7. The apparatus as claimed in claim 1 wherein said first elementfully or partially overlays the second element, and wherein portions ofan overlaid element exhibiting information (comprising at least one ofsaid indicated sequence or a member of said group of musicalrepresentations) remain visible during use.
 8. The apparatus as claimedin claim 7 wherein said information is visible through windows in saidfirst element.
 9. The apparatus as claimed in claim 1 wherein saidinformation (comprising at least one of an indicated sequencecorresponding to either or both of said musical scale or chord, or saidmusical notes represented in an accepted notation) are visible on twofaces of at least one element.
 10. The apparatus as claimed in claim 9wherein said elements having said information on two faces is reversiblewith respect to the other said elements.
 11. The apparatus as claimed inclaim 1 wherein a plurality of said indicated sequences are provided onthe apparatus which indicate a plurality of said scales or chords onsaid fret, said scales or chords being of the same key though ondifferent strings, octaves, or combinations thereof.
 12. The apparatusas claimed in claim 1 which includes means for attachment to the neck ofa guitar-like instrument.
 13. The apparatus as claimed in claim 1 in theform of a linear or rotary slide rule.
 14. The apparatus as claimed inclaim 1 wherein either said first element or second element comprises asleeve and another element comprises an insert slidable therein.